Mortals  & 
Immortals 

C.  Caricatures 
C.  DE  Fornaro 

CPreface  Sjf 

B.  DE  Casseres 

It 


^T^ublished  by  The  Hornet  Publishing  Company 
Ninety-Nine  Water  Street,  New  York^  U,S.A. 


Copyright  igii^  By  C.  DeFornaro 


I 

The  Psychology  of  Caricature 

Caricature  is  the  intelledt  of  art.  As  music,  painting,  and  poetry  are  records  of  life  con- 
ceived emotionally,  caricature  is  a record  of  life  conceived  intelledually  — hence  satirically, 
paradoxically,  comically.  It  is  like  an  eye  the  retina  of  which  holds  only  the  ribs  of  aftion, 
the  fleshless  muscles  of  attitude. 

As  irony  is  the  supreme  of  philosophy,  caricature  is  the  supreme  of  art.  Life  begins  in  an  Eden 
and  ends  in  a Brocken  of  discords.  The  evolution  of  the  individual  mind  is  from  belief  to  spite, 
from  the  naive  and  pasty  vision  of  a Bernardin  de  Saint-Pierre  to  the  withering  sneer  of  an 
Aristophanes.  The  caricaturist  vision  is  a vision  from  the  very  apex  of  mental  development.  It 
laughs  at  men  with  the  brutal  laugh  of  God.  Its  jest  is  as  keen  as  that  jest  we  call  death. 

Like  the  poisonous  humor  of  Rabelais,  Cervantes,  Heine,  Jules  Laforgue,  the  caricaturist  carries 
in  his  soul  the  fatal  smile.  This  smile  is  mute  in  Cappiello,  brutal  in  Rouveyre,  fantastic  in  Sem, 
inexorable  in  Fornaro  and  murderous  in  De  Zayas.  It  is  born  on  the  frozen  summit  of  sensibility. 
A sigh  congealed  in  the  blood  of  the  brain  will  sparkle  like  a diamond  — and  cut  like  one. 

It  is  a mistake  to  believe  that  a caricaturist  must  necessarily  draw  caricatures.  All  those  who  see 
life  as  an  absurdity,  as  something  fantastic,  as  a stupendous  Olympian  jest,  a sport  organized  by  the 
Immanent  Ennui ; all  those  who  see  life  as  a mixture  of  diabolistic  humor  and  mystical  vaudeville 
are  caricaturists,  whether  their  names  be  Shakespeare,  Cervantes,  Heine,  Fornaro,  Sem,  De  Zayas, 
or  Anatole  France. 

Every  mind  who  faces  boldly  the  hidden  Dramaturgist  of  existence  and  trills  a tra-la-la  in  its  ear 
is  a caricaturist.  It  is  the  crack  in  the  Urn  of  Existence  — this  brain-chuckle.  It  is  a poultice  of 
ice  laid  over  the  heart  of  drooling  sentimentality.  This  tragic,  this  bitter,  this  fatal  smile  on  the  lips 
of  Caricature  ! It  is  a strange  hieroglyphic  from  a hidden  wisdom.  It  is  an  eccentric  fata  morgana 
that  plays  above  the  graves  of  reputations  and  discrowned  celebrities.  It  is  the  gibbet  of  all  the 
follies  and  vanities  of  existence.  It  is  born  of  the  cynicism  of  God  itself. 

And  it  is  because  of  this  that  there  is  something  of  the  macabre,  something  chilling,  something 
frightful  in  all  caricature.  It  is  an  art  for  the  few,  for  the  connoisseurs  of  life.  It  is  an  art  from 
which  paunchy,  heavy-mammelled  Complacency  flees  as  from  a genius.  It  is  an  art  that  the  sleazy 
bourgeois  mind  looks  on  as  a blasphemy — that  bourgeois  mind,  eternal  revenant  of  pre-established 
stupidity!  Sacrosanft  pig  around  whose  trough  Flaubert  and  Heine  chanted  their  ironical  pater- 
nosters ! But  caricature  wounds  no  more  than  nature  does,  and  it  is  no  crueller  than  life,  and  is 
not  as  frightful  as  the  hypocrites’  paradise  that  is  called  the  social  system. 

The  caricaturist  has  that  touch  of  the  Satanic  in  him  which  redeems  him  from  the  pestilential 
morality  and  sanity  of  the  work^a-day  world.  He  is  impersonal,  disenchanted,  a Nietzschean.  That 
Satanic  touch  which  lies  at  the  basis  of  his  art  is  something  akin  to  that  cold,  intelleftual  smile  that 
lago  threw  on  the  corpses  of  Othello  and  Desdemona.  It  gnawed  at  the  brain  of  Balzac  till  it 
crumbled.  It  put  Swift  on  a throne  of  ice.  Disembodied,  the  Satanic  spirit  that  fastens  on  the 
mind  of  the  caricaturist  is  the  spirit  of  Circumstance,  the  immutable  gray  eye  of  Fatality.  It  was 
the  firefly  with  the  wintry  flame  that  encircled  the  head  of  Orestes  and  Oedipus,  Napoleon  and 
Edgar  Allan  Poe.  It  is  the  invisible  satyr  in  worlds  and  destinies,  the  star  in  the  forehead  of 
Lucifer,  the  cold,  bethlehemic  light  hovering  over  the  manger  of  geniuses  destined  to  strange 
Gethsemanes  and  pensive  Calvaries. 

Every  caricaturist  was  once  an  idealist  — if  not  in  his  youth,  then  in  some  previous  incarnation. 
For  him  the  slow  evaporation  of  ideals  and  their  condensation  into  nebulous  comic  visions ; the  slow 
massacre  of  brazen  hopes;  the  murderous  concussion  of  Will  and  Reality.  Here  is  the  psychological 
root  from  which  is  born  that  sadic,  vengeful  smile,  that  guffaw  in  hell.  The  Ideal  — of  which  the 
caricaturist  becomes  the  eternal  enemy  — is  a vague  clarion-call  sounding  from  impossible  summits. 
The  sense  of  the  ridiculous  forever  muffles  it.  Chimera  is  become  a passionless,  smiling  Sphinx. 
The  ironic,  the  satiric,  the  caricatural  is  the  final  mental  concubine  of  the  disenchanted.  The  oval 
face  of  Grief  is  at  last  touched  to  a smile  by  that  transfiguring  chrism.  The  legioned  visions  of 
impenitent  minds  cannot  advance  beyond  that  unarithmetical  grin.  On  that  tragi-comic  Horeb  one 
sees  men  as  they  are. 


Fornaro  and  His  Work 


The  caricatures  of  Carlo  de  Fornaro  are  entirely  different  from  anything  we 
know.  They  are  absolutely  original  in  their  method  and  viewpoint  and  refleft  the  person- 
ality of  the  man.  There  is  no  invention,  no  pose,  no  affedlation  in  his  work  ; it  is  an  art 
that  springs  diredtly  from  the  subconscious  nature  of  the  man.  They  reflect  a manner  of  feeling 
more  than  a manner  of  thinking,  which  is  not  to  say  that  his  work  is  not  intelleAual.  The  brain 
feels  as  well  as  thinks;  it  has  its  emotions  as  well  as  the  heart.  It  is  still  an  open  question  whether 
there  is  any  such  thing  as  thought  at  all.  What  we  call  a thought  is  merely  a certain  manner  of 
feeling  about  a thing  translated  into  an  image  or  a word.  Fornaro  feels  with  his  brain.  His  cari- 
catures are  the  record  of  that  feeling. 

His  work  is  the  philosophy  of  the  concrete.  Each  figure  is  complete  in  itself.  Each  pose  is 
definitive,  struck  off  firmly,  positively,  inexorably.  Each  caricature  is  a dogma  of  perception.  “My 
truth  is  the  truth  ; there  is  no  other  truth”  might  stand  as  the  metaphysical  formula  to  base  his  art. 
He  is  not  related  to  any  one  else.  He  is  more  Anglo-Saxon  than  Latin,  more  artistically  brutal 
than  delicate,  though  sometimes  in  some  of  his  caricatures  one  catches  a sly  and  mordant  politeness 
deeper  than  the  frank  contempt  of  Sem. 

The  evolution  of  his  art  in  the  last  ten  years  has  been  toward  a greater  simplicity.  With  a 
single  stroke  he  can  focus  a charaAeristic  ; a single  dot  reveals  a thought.  The  caricature  of 
Theodore  Roosevelt  is  an  extraordinary  piece  of  work,  as  is  that  of  Senator  Bourne.  Here  char- 
after  is  reduced  to  geometrical  lines,  f ornaro  and  Picasso  have  found  the  secret  of  the  straight 
line,  the  poetry  of  logic.  It  is  the  absolutism  of  Spinoza  applied  to  art. 

The  caricatures  in  this  book  are  literature.  They  are  a record  of  the  men  of  the  hour.  They 

are  a composite  of  America.  Divine  the  secret  of  these  caricatures  and  you  are  at  the  heart  of 
America’s  secret.  The  soul  of  it  all  is  the  Praftical.  And  Fornaro,  because  he  is  of  another 
people,  has  divined  this.  The  United  States  is  giving  us  the  romance  of  the  Real.  These  faces, 

these  forms  are  the  epiphany  of  the  praftical,  the  utilitarian.  Here  are  the  Voyagers  in  the  new 

Western  sky,  the  Vikings  of  giant  corporations,  the  Samsons  of  Wall  Street,  the  butter-mouthed 
orators  that  make  our  laws  and  shorten  our  incomes.  It  is  a saga  of  the  West  in  black  and  white. 
It  is  real  literature,  great  literature. 

The  face  is  the  palm  of  the  mind,  and  Carlo  de  Fornaro  is  a palm-reader.  Before  the  ideal — the 
innocent  enough  looking  Trojan  horse  wherein  there  is  secreted  a savage,  starving,  murderous 
horde  — he  plays  Merryandrew.  Before  the  hierophants  of  seriousness  he  squats  satyr-wise  and 
pipes  a merry  ditty.  Civilization — the  great  crime  against  nature  — has  perverted  mirth.  Puck  is 
dead.  The  daily  newspapers  laid  on  one  another  for  a single  year  would  be  a palimpsest  of  un- 
imaginable humbug.  The  work  of  Fornaro  in  its  essence,  like  that  of  De  Zayas,  says  Oh,  go  to  ! 

It  will  be  noticed  that  there  are  no  women  caricatured  in  this  book.  That  is  quite  proper  in 
America,  for  when  we  speak  of  women  we  are  either  satyrs  or  asses. 

I peered  into  the  face  of  the  creator  of  all  things  and  I saw  therein  indifference  over  which 
there  had  come  the  patina  of  irony  ; and  I peered  into  the  face  of  Satan  and  I saw  therein  irony 
over  which  there  had  come  the  patina  of  ennui;  and  I peered  into  the  faces  of  the  caricatures  done 
by  Fornaro  and  I saw  hypocrisy  over  which  had  spread  the  patina  of  power. 

BENJAMIN  DE  CASSERES. 


Index  of  Cartoons 


1 Aldrich,  N.  W.  — Rubber  money  expert. 

2 Bryan,  W.  J. — Hoodoo. 

3 Belmont,  Aug. — Exporter  of  horses. 

4 Bennett,  J.  G.  — Qiialified  yachtsman. 

5 Bourne,  J.,  Jr.  — President  baiter. 

6 Berger,  V.  — Trust  partisan. 

7 Bristow,  J.  L. — Authority  on  rubber  sched- 

ules. 

8 Cannon,  J.  — Cigar  annex. 

9 Cummins,  A.  B.  — Bigwig  on  tariff. 

10  Crane,  VV.  M.  — Pussy-footed  adviser. 

1 1 Clark,  Champ — Long  head  on  reciprocity. 

12  Carnegie,  A.  — Peace  and  Homestead. 

13  Clapp,  M.  E.  — Ostensible  Republican, 

14  Cook,  Dr.  F.  A.  — Polariscoop. 

1 5 Comstock,  A.  — Colledfor  of  works  of  art. 

16  Debs,  E.  V.  — Poet. 

17  Dix,  J.  A.  — Paper  magnate. 

18  Edison,  T.  A.  — Luminary  on  German  Art. 

19  Freschi,  j.  j.  — Solon  of  the  Italians. 
zo  Foss,  E.  N.  — Ex-republican. 

21  Gaynor,  W.  j.  — Genteel  letter  writer. 

22  Gary,  E.  H.  — Co-operative  Socialist. 

23  Gold  Dust  Twins — Exponents  of  Nepot- 

ism. 

24  Gompers,  S — Friend  of  the  Socialists. 

25  Guggenheim,  S.  — Alaskan. 

26  Herford,  O.  — Geographical  Nestor. 

27  Hearst,  W.  R. — Tamer  of  7'igers. 

28  Harmon,  J.  — Successful  fisherman. 

29  Hill,  J.  J. — Tie  Wizard. 

30  Johnson,  J.  — Chauffeur. 

31  Joel’s — Home  of  Polygeneric  theory. 

32  Knox,  P.  C.  — Political  philanderer. 

33  La  Follette,  R.M. — Expositor  of  Shake- 

speare. 

34  Lorimer,  W.  — Order  of  the  White  Ele- 

phant. 

35  London,  J.  — Philistine. 

36  Morgan,  J.  P.  — Mecenas. 


37  Mayer,  Hy.  — Caricaturist. 

38  Murphy,  C.  F.  — Contradfor. 

39  Otis,  H.  G.  — Dynamite  prophet. 

40  Pulitzer,  R.  — Peace  propagandist. 

41  Powers,  T.  E.  — Socialist. 

42  Perkins,  G.  VV.  — Acrobat. 

43  Peary,  R.  E. — Friend  of  the  negro. 

44  PiNCHOT,  G. — Back-woods-Man. 

45  Ryan,  T.  F. — King  of  Diamonds. 

46  Rockefeller,  J.  D.  — Oil-Canned. 

47  Roosevelt,  T. — Jack  the  Giant  Killer. 

48  Root,  E. — Ringmaster, 

49  Ridder,  H. — Leader  of  the  German. 

50  Smith,  J.  F.  — Polygamist  and  Republican. 

51  Sullivan,  T.  — A Certain  Party. 

52  Taft,  W.  H.  — Tbe  Political  Trainer. 

53  Thompson,  Seton  E.  — Painter. 

54  Underwood,  O. — Bryan’s  Friend. 

55  Waldo,  R.  — Copper  Head. 

56  VVicKERSHAM,  G.  W.  — Friend  of  Don  Por- 

firio. 

57  Wiley,  Dr.  W.  H.  — Attila  of  poisoned 

food. 

58  Wilson,  W. — New-Gent  in  politics. 

59  World  Staff  — I'he  Disinherited. 

60  Watterson,  Col.  H.  — Teddy’s  Chum. 

OUR  CANADIAN  COUSINS 

61  Borden,  R.  L.  — Condensed  Canadian. 

62  Laurier,  Sir  VV. — Canada’s  Prophet. 

SOUTH  OF  THE  RIO  GRANDE 

63  Castro,  C. — Skilled  seaman. 

64  De  La  Barra,  F.  L.  — The  man  who  has 

lost  his  Shadow. 

65  Diaz,  P.  — Ex-Revolutionist. 

66  Limantour,  j.  Y.  — Friend  of  G.W.Wick- 

ersham. 

67  Madero,  F.  I.  — Spiritualist. 

68  Reyes,  Gen.  B.  — Mexico’s  Boulanger. 


^ The  drawings  in  this  book  have  never  appeared  before  with  the  exception  of  the  cartoon  entitled:  Tiuo 
Immortals : Diaz  and  Deaths  which  was  published  in  the  New  York  Call^  May  2gth^  igii. 


-viiikiL 


T^o  the  Memory  of 
My  Father 


Digitized  by  the  Internet  Archive 

in  2015 


https://archive.org/details/mortalsinnmortalsOOforn 


Niv-ALDRicfi- 


V 


:ss:ssi!s;s'" 


I!:---'!!!* 


1 


vV.J.  BRYAN. 


But  I WILL  aggravate  riT  Voice  Go  that  (WILL  Roar  you  AG  gently  AiANY 
SucKiNQ  Dove  . — ^ midsummer-ihichts  dream. 


/\.  BELMONT 


The  Public  be. ..jammed! 


3 


J.G.  Bennett 


SPiRin  ARE  Not  TInely  Touch'd 
But  To  Tine  issues. 

— Me/Wi/RE  foRMEASW^E. 


JBOURNEJr. 


5 


VicToR  3ER&ER. 


7 


J.CANNON. 


CURSES, notloud  but  deep. 

8 - MACBETH . 


He  CALL^  — .1  ,K(H(;  HENRyjI 


W.M.Cf^ANE. 


— MERKr  vjives  OFM/INPSoK. 


(T (GRIEVES  M/lNV.' 

THE  qENUEHflN  IS  LE/IRn'D  ,/»ND/1  MOSTR/IRe  SPE/\K£R.  - K'NC,  HENRY® 


11 


AKdrew  CAP^NEGiie 


O Wonderful,  womperfvl,  and  most  wonderful  wonderful!  and  yet  again  wonderful  . 

— As  Ycx/  like  *T. 


12 


Dr.CooK. 


T 

14 


IS  TRUE  T IS  PITY/ANP  Pity  T is  'TisTR'jE  ;/\  fooLiSH  RGuRE. 

— H Am  LET. 


A.CoMiTbcK. 


-G,oD  tempers  the  wind  To  the  SHORn  LAMB, 


15 


foRTV  THoui/\ND  6R0THEf^5  COULD  Not,  With /^LL Their  quantity  or  U?VE, make  UPMY6UM. 


THws  EDWon. 


PLAYS  SUCH  FANTASTIC  TRICKS  BeFqRE  high  HEAVEN' 

18 


\j  doth  appear  you  are  a worthy  Juocig,yoy  kmowthe  UAW. 

— MERCHAHT  or  VENICE. 


19 


It  may  wtUL  ee;  There  is  a mutiny  ins  Mind 

~<(NCi  h£NR/2!ir. 


20 


WJ.C.AYNOR. 


But  IF"  I PLACE  MY  INTEREST  ON  ONE  SIDE,  ANO  VIRTUE  ON  THE  OTVieR,  THE  DOCTRINE  OF 
EPICURUS  WILL  STAND  ITS  OROUND,  THAT  VIRTUE  IS  NOTHING,,  OR  MERE  OPINION. 

-EPICTETUS. 


22 


The  Qold  \>usT  TwiN3. 


MV  ELBOW  iTcheO;  ITHoOQHT  TH6RE  WOULD  /S  TbLLOW, 

— HrCM  /^B©vT  HcjTHiHa* 


THE  VOICE  INDEED  !5THE 
VOICE  OTj/\COD;BUTTtiE 

hands  are  the  HANDS^or 

ESAV.  ~C,ENE^SIS. 


J.  HARmon. 


A 1 / 


28 


every  mam  thy  ear  Bvr  Few  thy  Voice 

— hamuT 


Ml^LlKE 

30 


ME  NOT  FOR  NY  ^ON PL 


Joel's  LiTeraRY  corner,-  once  Mexican  revolutionary  table 


Pc KNOX 


I have  been  PctfTiC  WITH  MY  TKiENP, 
SMOdnj  wiTh  Hlltfi  ENEMY. 

— A3  too  Like  iT. 


R.M.  La  ToLLeIK, 


That,  like  an  EAGLE  in  a DOV£-COTe,  I TLUTTE(^Q  VOUl^  VOLSCIANS  iNCOf^lOU. 

— CoRiOLANUS. 


33 


w.  LO 


34 


ALL  THE  perfumes  of  ARABIA  will  Not  SWEETEN  THIS  LITTLE  HAND.  OH, OH, OH.' 

— Macbeth. 


4 


JACK  London 


A Famous  f^tBEL  art 

— i Kino 


J.P.MOflGAN. 


QOETH  DOi^N  11^4  ^0  THE  PIT.  fHoVERBS.  1. 12.. 


H.G.OTIS. 


■^/\LPH  PULITZ-Ef^. 


LeT  Me  Tell  THE  world, 

40 


—I  KtNG  HENRy  n 


He  use4  HisTbLcr  UKeA«>u0HQ7Hoasc  anpiwpsr 

The  PRE^EKTATtoH  THfl"  ME  Hi^  WiT. 

— MYw  UKC  »T. 


41 


42 


-■  Mt^CHANT  OF  VENICE. 


R.E.PEARY 


Trie  Noble-  aho  true-heACTep  rent  BANiiHCp! 


rtiS  OFFENCE,  HoNCSTt: 


JD.F^Oc|<EfElt§-(^. 


MY  conscience  haTh  a Thousand  several  tonciUe^, 
AMO  EVeKY  TOKCUe  6RIHQ.S  A sbver/l  tale. 


— Kinc  Rich ar  Din 


WHO  OfTERED  HIM  The  CRoWisI? 


J.  C/\E5/\f^ 


E.ROOT. 


48 


Search  out  ThYiviT 

For  secret  Policies. 

— iKtNGHeNRYYT 


'-K,t-M5CflRPEU. 


& 


AND  You  may  know  BY  MY  SIZE  THAT  I HAVE  A KIND  or  ALACRITY  IN  SINKlNQ. 
52  MWW  Wives  OF  Windsor. 


O.UNDEf^^oOD. 


fRAMED  tNTHE  PRoDIOAUTY  or  NATURE,  YouNq,v/\l-IANr  WISE  . —KING  RiClIflRDI!!. 
54 


A DANIEL  COME  To  JUDG  ME  NT!  VEA  , A DANl£L.:  — f-lttRCHANT  oT  V£>JKie. 


CoM- 

D<QN 

'beware  ! 

SAUCE 

tabasco 

M<^CABE 

WiLSow 
f?Yfe 


CANNED  Cooos 


^oMETHiNa  IS  Rotten  in  the  state  or*  Denmark.  - HAMlET 


58 


DeZaYAS.  RoTH.  CesaRE.  R.  McCARDELL.  TKuEH.  KeTTEN.  mac/u/ley. 


Thus  we  hay  see  hoivthe  world  wags.  - As  You  like  iT. 


60 


Our  Canadian  Cousins 


KLBORDEN. 


CANADA  IS  ON  THE  PARTING  OF  THE  WAY£>  . t^.H.TAFT: 


61 


Sir  w.  LRuRieR.. 


South  of  the  Rio  Grande 


C CASTRO. 


His  LiFe  was  csenTle  . 

^ J.caejar. 


63 


r Oela  BARRA. 


my  HEAOTHer  PLACED  A FRUITLESS  CROWN, 
PuTA  barren  SCEPTT^E  in  MY  CRIPF 

w 


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J.Y.LinANToi^R. 

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G-NWiCKERSHAM. 

8 

And  I HAVE  Bought  Qolden  opinions 
rROH  All  S0RT5  or  people.  — macbeth 


KI.MADEf^o. 


dare:,  is  the  whole  secret  of  revolutions.  - STJUST. 


67 


Ut  ME  SIT  HEAW  ON  THY SOUL  TO-MORROW. 

! -^KlNCi  RlCHARPm  68 


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